Field of the Invention
The present invention relates to an sleeve designed to fit about the hand, wrist, and forearm and to aid in the holding and control of a container, and more particularly, to an improved adjustable wrist sleeve constructed to receive and attach to a cylindrical container displaying a semi-circular bale handle, allow for single-handed container control, and provide a point of attachment for a paint brush and a communication device.
Background of the Invention
It has long been customary for painters to engage in detailed painting and trim work that involves using precise techniques to discretely apply paint to the borders and edges of painted walls. While some work is required along the baseboard (at the intersection of floor and wall), the majority of trim work and “cutting in” is accomplished where wall meets wall, wall meets ceiling and at the point where the wall meets a framed opening such as a window or a door. Irrespective of location, residential and commercial painters alike utilize the universal technique of a single-handed grip of a bale-handled paint can where the four terminal digits (fingers) of the hand are used to support the base of the can while the opposable pollex or thumb is flexed at the distal interphalangeal joint to “hook” the thin can bale handle at the point where the handle is at a position that is in close proximity to, but not completely rested on, the side of the can. This technique is helpful in giving the painter the maximum amount of accessibility to the desired paint while allowing for a one-handed grip that provides control of the container in its original packaging—negating the need to transfer the paint into another receptacle to facilitate transportation to the desired location. This use of the original can is expedient and conservative of paint. Unfortunately, it is this type of “precision grip” that leads to an untenable stress upon the receiving hand, the lower and upper arm of the painter, and into neck and upper back—leading to a truly unsustainable strain and resulting muscle cramping and fatigue. Habitual repetitive utilization of this technique can and will result in a Repetitive Strain injury (RSI) marked by long term musculoskeletal and neurological damage to the fingers, wrist, arm, shoulder, and neck. It is this arm and hand lassitude and resulting potential for long-term damage that necessitates an improved means of paint can grip.
As mentioned above, it is commonplace to use the unassisted gripping technique of holding a paint can to the ultimate detriment of the muscles, joints, and neurons of the painter's hand, wrist, arm and shoulder. The painter, in order to grasp and manipulate the paint can, must choose the archaic and pedestrian, yet practical, technique of a sustained precision grip—all to the overall disservice to his primary tool: his hands. Yet, while several designs and assemblages have been developed to address the need for improved paint can handling, all systems essentially fail on one of 2 points: (1) concept and (2) overall utilization. Fundamentally, the problem posed to the painting industry necessitates a paradigm shift to address the inadequate solutions to an extremely pressing need.
Conceptually, several inventors have sought various solutions to the overall placement of the bale-handled paint can for support and ease of access by the painter. Spatially, this can be seen through inventions that bring the paint can ever closer to the painter in an attempt to allow increasing ease of access to the can's paint while decreasing the need for excessive paint can manipulation. This is evidenced through 3 distinct attachments, each with varying degrees of success.
Paramount in this field is can attachment directly to a painter's ladder (See Anderson, U.S. Pat. No. 3,131,900, Brent, U.S. Pat. No. 4,569,449, and Reusser U.S. Pat. No. 8,919,713). As depicted in each of these patents, the paint can is reversibly affixed to the ladder of the painter at various sites with differing degrees of access. Unfortunately, this placement creates a natural shift in the center of gravity of the ladder (and the painter/ladder combination) creating the supposition of a shift in the overall stability of the combination and a potential for a painter's fall and paint spillage. Moreover, the ladder attachment necessitates a close distance between ladder and painter with a resulting limitation on work area, proximity to paint, and painter maneuverability.
In keeping with the theme of paint adjacency, inventors Walsh (U.S. Pat. No. 2,717,109), Dixon (U.S. Pat. No. 2,995,281) and Dancyger (U.S. Pat. No. 5,497,921) each addressed and overcame the distance gap created with a fixed connection to a stationary object (a ladder) by harnessing and attaching the paint can to the painter's person. As can be seen in each of the above examples, the aforementioned inventors individually and collectively envisioned inventions that affixed paint can to painter. Although, it is clear in each invention that the immediacy of the paint can allows for an ease of access to the paint and an increased range of work mobility, the inventions in the '109, '281, an '921 patents are nonetheless cumbersome and unergonomic. So, while these patents enhance immediacy to the paint they continue to be an untenable solution to can and paint management and manipulation. Equally, the attachment in each of these patents carry with them an ever present risk of paint loss due to painter movement and gyration.
A result of the natural result and solution to the aforementioned shortcomings of detached and attached paint can management and immediacy is the hand and wrist attachment of paint can to painter. Undeniably, can handles and holders have received the lion's share of attention for inventions postulated to solve both the discussed issues of proximity and ease of can manipulation with varying degrees of success. Hothersall (U.S. Pat. No. 2,026,536) describes a rudimentary pale handle guard designed to increase the surface area of the pale handle and aid in grip and comfort. Unfortunately, while solving the issue of proximity, this is a small improvement upon a naked grip and fails to address ease of manipulation and hampers brush access. Equally, as depicted in U.S. Pat. No. 2,547,096 by Sawyer and U.S. Pat. No. 4,895,269 by Cade, a basic and attachable can handle can be seen to allow for single-handed attachment and manipulation without being permanently affixed or attached to the painter. And while this solves proximity issues while negating restricted brush access, it does little to address hand and grip fatigue. Too, as shown in U.S. Pat. No. 5,092,481 issued to Skelton, access and manipulation are addressed with a loop about the bale-handle of the paint can which is made to receive the thumb of the painter and allowing for unfettered access to the paint. The point of attachment is an enhancement over previous attempts to facilitate access and can manipulations and comes nearer to a functional design. But, while this answers issues with distance and brush accessibility, it fails to relieve stress on the thumb and requires a sustained grip thus not solving the issues of hand/wrist fatigue.
Recognizably, improvements on the basic single-hand can grip have been made. As depicted in U.S. Pat. No. 5,806,709 issued to Marshall II, the rudimentary inventions of basic attachment have given way to an invention that attempts to place the hand in a more natural position. As displayed in the '709 patent, the pale bale-handle is controlled by the depicted devise which also supports the can base while receiving the painter's thumb. However, the thumb placement is a simple adjustment to prior efforts and does not remove the thumb from the stress equation all while leaving the critical component of decreased thumb stress absent. Additionally, variations also exists in the related area of hand position that facilitate a more natural grip and manipulation of a paint can. As enumerated in U.S. Pat. No. 8,413,839 issued to Horvath, the '839 invention proffers an invention designed to more naturally follow the contours of the painter's hand. In the several positions available to the painter with the disclosed device, each relies upon the thumb to either grip or secure the paint can in an unattached, untethered position, inopposite to the present invention's safeguarded attachment. Although, the system does address the issue of thumb stress and wrist and arm fatigue, it fails to properly take into account the devices preclutivity to shifting and untoward movement. U.S. Pat. No. 7,073,205 issued to Finn has sought to overcome the deficiencies of Horvath's device by incorporating stationary attachment into Horvath's invention. Finn too incorporates decreased dependence upon the thumb into his “glove” that is sewn directly onto a sleeve which surrounds and partially enfolds a paint can. Finn, though fails to take into consideration the lack of control created with such an unbalanced arrangement and the complete loss of the use of the hand used in Finn's proffered resolution. What's more, while Finn's invention may have the capability to lessen the stress experienced by the thumb, it has greatly increased the tension realized by the wrist in such an arrangement—a detraction quintessentially affecting the overall utility of the invention.
Finally, wide-ranging modes and complex arrangements have been incorporated into inventions that seek to address the need for single-handed paint can manipulation and equally addresses the issues of hand and wrist stress. Too, interior access to the paint can is a crucial element that cannot be discounted. U.S. Pat. No. 5,471,681 (Glove Having a Hook for Steadily Holding a Container) as discussed by Ferrini, comes closest to improving upon the infirmities of previous inventions by developing an apparatus that allows for attachment to the bale-handle of a paint can with reduced pressure on the thumb and wrist of the operator. Indeed, Ferrini's '681 invention is a marked development and improvement over the ladder-attached and painter-affixed patents heretofore discussed. Too, the Ferrini patent provides more stabilization and less thumb stress than that of the solution proposed by Skelton's thumb loop (U.S. Pat. No. 5,092,48). Equally, the '681 invention progresses past both the loosely affixed placement, thumb stabilized '709 and '839 patents, issued to Marshall II and Horvath respectively, and the less permanent and wrist taxing invention of the patent issued to Finn (U.S. Pat. No. 7,073,205) in terms of not only point of attachment, but also thumb stress and weight distribution. Nevertheless, Ferrini's patent falls short of the present invention on several key points. Primarily, the present invention is an improved design over the '681 patent in that the placement and closing ability of the swivel gate snap hook places the pull of the bale handle more naturally on the painter's wrist (versus the painter's palm) and the ability to releasably attach and reattach the hook gives way to an increased range of motion that allows for canister control with (1) the hook at the bale handle's apex, the bale handle in a downward position, and the fingers resting on the bottom of the can, (2) the hook at the point of connection and pivot to the canister, the bale handle in a downward position, and the fingers and thumb resting to the side of the canister, and (3) the gate snap hook at the apex of the bale handle where the bale handle is extended up and away from the canister in a “carrying position” where the painter's hand is free and the canister is allowed to rotate in a 360 degree swivel. Further improvements include freely moveable and engagable digits and thumb, increased wrist and upper arm support, and inner wrist stabilization sleeve, a padded comfort strip, and 3 elastic hook-type fastener tabs designed for adjustment (i.e. tightening and loosening) of the brace, additional elastic bands for a communication device, and a magnet that is sewn into the wrist sleeve for paint brush attachment. It is these points of differentiation that are of paramount importance to the utility of the present invention and provide a novel, non-obvious invention for paint can attachment and control.
While many endeavors exist to secure a paint can to a painter's hand and wrist without restricting paint access or mobility, none yet has accomplished this in a manner that allows the painter to maintain complete control over the attached can, freely moveable, from various positions and angels without undue tension upon the hand and wrist. This invention seeks to resolve the issue of allowing a painter consistent control and manipulability of a paint can in the form of an ergonomic, adjustable paint can attachment system that is both practical and comfortable.